DOI Heft:
No. 164 (November, 1906)
DOI Artikel:Vallance, Aymer: Of some recent plaster work by Mr. G. P. Bankart
DOI Artikel:The second exhibition of the Society of Twenty-Five English Painters
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20716#0170
The Society of Twenty-Five English Painters
fort. In this, the second exhibition in London,
the unique character of the society is more than
ever in evidence. We are conscious that it repre-
sents the drawing together of a few artists whose
aims, though widely dissimilar, have this one
quality in common : namely, a regard for certain
refinement of the laws of picture-making which
modern art has for the most part been all too
ready to despise. It is perhaps easier for the
visitor to the exhibition, than for the members
themselves, to see this affinity underneath the
diversity of their aims. But certain it is that the
atmosphere of the exhibition is one of artistic
scholarship, and something more than direct tran-
scription from nature on the one hand, or empty
decorative formula on the other, is recognised in
their artistic intentions. Aiming at a decorative-
ness, which includes reality, they remember that
the charm of harmonious composition is a virtue
which supplements and is not at war with truth of
values and harmonious colour. Rightly under-
stood as it is by these artists, these laws of
ceiling of vestibule at grimston court, york pictorial composition, nowadays more than partly
designed and executed by g. p. bankart forgotten, serve but to help and enhance the value
of well-adjusted tones, showing these truths to
of it may be. Nay, herein, in my opinion,
consists really its most insidious danger,
that it is so plausible to look at as to
deceive even the practised eye. But no
good thing can come of the practice of
any art, unless it be entirely free from all
taint, nay, even all suspicion, of insincerity
and untruth. Aymer Vallance.
THE SECOND EXHIBI-
TION OF THE SOCIETY
OF TWENTY-FIVE ENG-
LISH PAINTERS.
The Society of Twenty-Five English
Painters came into existence a year ago.
The formation of the society was remark-
ably unostentatious. No loud claims
were made upon the artistic public to
attend the birth of a new movement, and
little advertisement made of future inten-
tions. The first exhibition of the society,
however, proved to have a character
entirely its own, and such a one as at
once insured it the support of a large
section of the artistic public. It has
since held successful exhibitions in
Berlin, Diisseldorf, Cologne and Frank- "red riding hood" by w. llewellyn
15°
fort. In this, the second exhibition in London,
the unique character of the society is more than
ever in evidence. We are conscious that it repre-
sents the drawing together of a few artists whose
aims, though widely dissimilar, have this one
quality in common : namely, a regard for certain
refinement of the laws of picture-making which
modern art has for the most part been all too
ready to despise. It is perhaps easier for the
visitor to the exhibition, than for the members
themselves, to see this affinity underneath the
diversity of their aims. But certain it is that the
atmosphere of the exhibition is one of artistic
scholarship, and something more than direct tran-
scription from nature on the one hand, or empty
decorative formula on the other, is recognised in
their artistic intentions. Aiming at a decorative-
ness, which includes reality, they remember that
the charm of harmonious composition is a virtue
which supplements and is not at war with truth of
values and harmonious colour. Rightly under-
stood as it is by these artists, these laws of
ceiling of vestibule at grimston court, york pictorial composition, nowadays more than partly
designed and executed by g. p. bankart forgotten, serve but to help and enhance the value
of well-adjusted tones, showing these truths to
of it may be. Nay, herein, in my opinion,
consists really its most insidious danger,
that it is so plausible to look at as to
deceive even the practised eye. But no
good thing can come of the practice of
any art, unless it be entirely free from all
taint, nay, even all suspicion, of insincerity
and untruth. Aymer Vallance.
THE SECOND EXHIBI-
TION OF THE SOCIETY
OF TWENTY-FIVE ENG-
LISH PAINTERS.
The Society of Twenty-Five English
Painters came into existence a year ago.
The formation of the society was remark-
ably unostentatious. No loud claims
were made upon the artistic public to
attend the birth of a new movement, and
little advertisement made of future inten-
tions. The first exhibition of the society,
however, proved to have a character
entirely its own, and such a one as at
once insured it the support of a large
section of the artistic public. It has
since held successful exhibitions in
Berlin, Diisseldorf, Cologne and Frank- "red riding hood" by w. llewellyn
15°